DREAM THEATER - SCORE: 20TH ANNIVERSARY WORLD TOUR LIVE WITH THE OCTAVARIUM ORCHESTRA

Much can be argued for as well as against the group Dream Theater, but I pray at least one observation can be displayed irrefutably, and that's simple: they put on terrific live performances. Regardless of how many censurers maintain that this band releases far too many live albums, because I'll agree, their quantity of live releases is abundant, but I am in no way saying that is a bad thing. When an ensemble takes so much devotion and sounds and looks so superlative when playing live, I am of the opinion that they should exhibit their faculties openly and without worry of copious discharging. Of course, many might name me biased, which, in truth, I suppose I am. Since I first heard Dream Theater in late 2003, I've grown fonder and fonder of them. I've felt sorrow for not coming upon them sooner, making it just three years shy of their twentieth anniversary tour, but at the same time it was out of my control; I could neither progress my musical penchant into flourishing nor could I have had any more of a handle over my tastes when they finally decided to climax. In any case, I don't wish to dwell on when or how or where I found Dream Theater, but rather have myself and my readers agree universally that I consider myself to be a pledged adherent and have been since I first heard "Images and Words" and "Train of Thought," which were my the first albums of their [Dream Theater] collection, although the latter never really grew on me as much as others. I support them in every decision they make, regardless of my personal issues with them, and it thrills me to see how spirited they are twenty years after the start of an epoch of majesty (pardon the pun); heartily live Mike, John, John, James and Jordan, for their entire splendor and the music they create hereafter.

My apologies for the rant, but it happens when I'm discussing music . . .

On this DVD, the avid fan will find most of everything he - or she - is looking for: starting with the band's one-hour documentary titled, "The Score So Far," which chronicles the group's commencement as well as the hardships faced throughout the twenty years of their involvement, concluding with the show in New York City, at the Radio City Music Hall, which, I gather, is quite the legendary venue. Watching this documentary, I fell in love with the guys all over again; I knew most of the story of how they got started, who came and who left, but I never knew how dramatic it'd been, or how close it was that Dream Theater never even existed. Call me a drama queen, but it's how I felt while watching it. Although it's an hour, and I wish it really was longer, I felt I grew closer to the three central pillars that began this journey over twenty years ago, Mike Portnoy, John Petrucci and John Myung, the drummer, guitarist and bass guitarist of Dream Theater. It was a sad tale of an ambitious group of musicians whose original dream was about wanting to simply play the music. It escalated, I figured, into wanting to share their music with the world, until finally they grew to one of the top Progressively-oriented ensemble known in the world today. I suppose it's natural to describe these guys as "overrated," but not without cause, because they have earned it fully with their blood and tears put into the process. With me on my soapbox a few more moments, Dream Theater is the group that were I more interested in the art of music, I'd aspire to become one of the five, whether my interests lay in strings, keys, drums or vocals. It pains me worse that I don't show more of an aspiration to become a musician, even though I know it'd be damn find to play like John Petrucci or Mike Portnoy, or John Myung or Jordan Rudess; and it'd be equally invigorating to know I possessed the status of vocalism that James LaBrie carries, but in saddening conclusion, I don't. I'd love to play but I never see myself doing it, as if actually learning just wouldn't be worth it at this point, me pressing on being twenty years old. All the stories I hear of musicians who preserved throughout their lives, they began playing at ages five or six, or eight or night; they didn't pick up a guitar five months shy of their twentieth birthday, did they? Sure, they may be some, but the entire process gives me a bloody headache, so let's move on . . .

As said, the hour-long documentary archives how the band progressed from day-job delivery men to pinnacles of Progressive music and idols for millions across the globe. It's a spiritual journey, watching this documentary, and any appreciative fan of Dream Theater should find it somewhere and watch it. These guys aren't immortal, or superheroes; they aren't gods, musical or otherwise, and they can't set objects aflame simply by staring at them; they're normal people like you, or me, and their story is worth being heard, especially if the listener cares a lick about music. I suggest you find it, but do what you will.

Other features include three bonus live tracks never shown on previous DVDs. Filmed from Tokyo to Bucharest to Chicago, the three songs ("Another Day," "The Great Debate" and "Honor Thy Father") are all a great addition to this DVD, though the sound and video quality, as already stated in another review, is considerably lower; not so low, however, that you can't enjoy it. Just don't play it with the expectation you're about to watch "Live at Budokan," or the like.

I believe that sums up the bonus features of this DVD, but before I leave let's go over the concert itself: obviously I won't delve track-by-track as of yet, as I'm making a special effort later to review the CD set of this same concert, but I wanted to say a few things regarding issues that only the video format can tackle - starting with number one: the cinematography is yet again a spectacle to observe. The angles shot of each member of the band are beautiful and I can only imagine being on the cutting room floor, deciding which shots to use and which to throw out, because I know full well how hard it can be to not use an important shot that may - or may not - tell a further story and accentuate a member's enjoyment, so my hats off to Chris Osterhus and, I expect also, Mike Portnoy (if he did, in fact, contribute to the editing), for doing such an amazing job with this performance. Many might not be able to see it, but what's given cinematographically determines a lot of the mood when actually watching a concert onscreen, as opposed to simply listening to it in a discman or car stereo. It's a difficult task and I'd just like to express my appreciation for doing such a terrific job, is all. Not enough reviewers truly thank the artists behind the screen, who help bring the picture to life.

Furthermore, the stage was amazing. The set didn't look much different than previous ones you guys have worked with, but during the second set with the orchestra, the entire stage was just awe-inspiring to witness. I, unfortunately, wasn't at the Radio City Music Hall, but I was one of the ill-fated souls who paid to see you guys in Salt Lake City, Utah, that ended in heartbreak when you guys couldn't make it due to bad weather. Hopefully, with your next tour, you'll be able to stop by and put on a great show, as I'm sure it would've been similar had you guys been able to arrive. And two: the lighting and visuals were well placed and shot, and performed throughout the night they were incredible. Watching your shows only makes me that much more envious of all those who have been present at your tapings, being able to observe the grandeur.

Highlighted songs of the night, for me, were: "Afterlife," "Innocence Faded," "Six Degrees of Inner Turbulence," which was the height, I thought, of the orchestra's participation, even though it would've been regal to see them perform more extensively throughout the rest of the show; ibid, "The Answer Lies Within," "Octavarium" and "Metropolis" were outstandingly engaged.

As already mentioned, the entire show was extraordinary. More and more watching it, I have long enjoyed "Live at Budokan" more than much of your previous scores, but "Score," I think, has come running a close second, and I have only seen it all the way through once thus far. When given time, I expect I'll come to enjoy "Score" advanced from any others.

In short, I recommend this to any listener of Progressive rock, metal, and so forth; though, I should warn you that it's much more passionate if you're familiar with their songs, otherwise the emotional material of this DVD will likely just go wasted. At any rate, I think "Score" is the performance worthy of an aficionado's two-and-a-half hours.